The notion that Paul McCartney needs a strong, bold-faced collaborator to do his best work doesn’t hold water; see Ram, Band On The Run, even Memory Almost Full for examples that refute it. But there is no doubt that pairing up with Elvis Costello was a good match, for both men. A third of the songs on 1989’s Flowers In The Dirt were co-written by the duo, and a couple of those songs stand out as the best stuff that Paul had managed since Tug Of War. Some production fussiness still interrupts the uniformly sharp songwriting at times, but this was a great album at a time when McCartney needed one. Here is a song-by-song review.
12. “Rough Ride”- The mix of synths and horns dates this one pretty severely. Fussy and not as danceable as it thinks it is.
11. “Don’t Be Careless Love”- A weird one co-written with Costello, it takes some nasty turns, including a moment when the person the narrator is addressing gets chopped into little pieces. The doo-wop verses, complete with finger snaps, are the best parts.
10. “Distractions”- Sweet and soft as a lullaby with a hint of a Latin lilt, this one boasts a lovely, winding melody and some off-kilter orchestration. Probably a bit too sleepy to be a true standout, but it’s nice nonetheless.
9. “How Many People?”- It treads the same ground as “Ebony And Ivory,” simplifying issues that are endlessly complicated. But the reggae puts enough of a playful twist on it to keep any kind of heavyhandedness from entering the sonic picture.
8. “We Got Married”- This has more promise than what it actually delivered. The lyrics certainly boast some strong lines and a clear-eyed view of matrimony. It gets bogged down on a sludgy side road after the light-footed opening, David Gilmour’s estimable presence on lead guitar notwithstanding. By the end of it, it’s almost a different song than the one that began, and not a better one, but the strong opening weighs heavily enough for a positive grade overall.
7. “Motor Of Love”- Yes, it’s overproduced as well. But the chorus pulls things together in such stirring fashion that all is forgiven. And McCartney’s heartfelt effort on vocals keeps all of the saccharine elements from invading on the song’s better nature
6. “This One”- Bright and friendly if a bit too polite, this paean to taking action now instead of later when it comes to expressing your love glides by on its goodwill. Nothing too fancy, but displaying pop chops to spare.
5. “Figure Of Eight”- Paul’s energy level never falters on this one, and the song follows suit. He sings everything but the bridge in a high-pitched yelp, the desperation in his hapless narrator palpable as he tries to escape the soul-deadening rut which his relationship has carved. A rock-solid way to start Side Two, back when such things started to dwindle in importance with the advent of the CD.
4. “Put It There”- Here Paul is in foot-tapping, acoustic mode, a pose that suits him very well. When he keeps it light like this, the melodies that seem to ooze out of him are given full room to blossom. How sweet the sentiment also, a sepia-toned father-son story in song with no rancor or recrimination. A little ditty that lingers in the best possible way.
3. “You Want Her Too”- McCartney mildly complained after the fact that Costello playing the Lennon role meant that Elvis got all the best lines. He was probably referring to this quirkily effective duet. The production here very much sounds like Spike-era Costello, with a flying trapeze-like instrumental hook and a searing refrain. And Paul is right; playing the straight man tends to throw the spotlight on the wiseass, who, if you had to put money on it, would probably be the one to get the girl in this love triangle. But the two voices in potent harmony in the chorus is what you remember most.
2. “My Brave Face”- It should have been a bigger hit, but 1989 was already the beginning of the era where great songs were no longer hits, so that explains it. Costello seemed to give McCartney the permission to get as Beatle-y as he’d been in years (and to use far more syllables per line.) The chorus comes first, the acoustic guitar lick sounds like “And I Love Her,” Paul’s bass is forefronted, and there’s even an psychedelic little quaver on the electric guitar: all Fab 4 signposts. Throw in a just right lyric about the perils of bachelorhood and you have pop perfection.
1. “That Day Is Done”- Might just be the best of the Costello/McCartney collabs, and that includes “Veronica,” which is a brilliant song. And I’m not even sure this is the best version of it; check out Elvis’ take with the vocal group The Fairfield Four, which brings down the house. Nonetheless it’s a song that’s somehow beautiful and chilling at once, no matter who performs it. The production here leans heavily to The Band, what with the drowsy horns and all, and the gloomy lyrics owe a nod to “Long Black Veil” for sure. It’s a credit to the potency of McCartney’s personality on the microphone that he sounds completely at home with a song that you wouldn’t think was in his wheelhouse at all. And Nicky Hopkins is on piano, so there’s that too, if you weren’t yet convinced.
(E-mail me at firstname.lastname@example.org or follow me on Twitter @JimBeviglia. For more on Paul McCartney and The Beatles, check out my new book arriving in March, Counting Down The Beatles: Their 100 Finest Songs. You can preorder it at the link below.)